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The next speaker in this AoIR 2023 session is Elizabeth Poole, whose interest is in counter-narratives against Islamophobia and their potential for mediated activism. This incorporates a computational analysis of discussions on Twitter related to Brexit, the Christchurch terror attack, and COVID-19, as well as qualitative and network analysis of these datasets.

Just made it in time to the next session at AoIR 2023, which starts with a paper by Yiran Duan on deleted tweets. The focus here is on deleted tweets in the #BlackLivesMatter hashtag during three key periods (including Black History Month in 2020 and 2021 and a police brutality trial in 2021). Some 37% of these have become unavailable in the last couple of years.

The final paper in this AoIR 2023 session was my own, presenting on behalf of my Australian Laureate Fellowship team at the QUT Digital Media Research Centre. Here are the slides:

The third speaker in this AoIR 2023 session is the excellent Fabio Giglietto, who also works with the URL shares dataset provided by Facebook via Social Science One. He also utilises the generative artificial intelligence tools now provided by OpenAI in order to examine the themes of and partisan attention to the topics circulating in discourse surrounding the 2018 and 2022 Italian election campaigns.

Next up in our AoIR 2023 session is the wonderful Jenny Stromer-Galley, whose focus is on understanding the processes that led to the 6 January 2021 coup attempt in the United States. She builds on an analysis of every Facebook and Twitter post and Facebook and Instagram ad by Donald Trump and Joe Biden, and focusses here especially on Trump’s attacks on the integrity of the election.

The next session at AoIR 2023 is our own panel, and starts with a presentation by Jessica Walter and Anja Bechmann. Their focus is on influence processes surrounding verified false content across the EU, with particular focus on national differences between EU countries as well as differences driven by other demographic factors. The EU is relatively understudied with respect to the influence of mis- and disinformation, compared to the US and other countries.

Third in this AoIR 2023 session is Reed van Schenck, whose interest is in the decline and reconstitution of the US alt-right after 2017 – from the ‘tiki torch’ marches to the 6 January 2021 coup attempt. A particular focus here is on Telegram, but much of the research so far has examined only the public Telegram channels, and not its private and secret channels where potentially even more problematic activities may be taking place.

The second paper in this AoIR 2023 session is by Marco Bastos and Raquel Recuero, whose focus is on the 8 January 2022 insurrection in Brazil, after the election loss of far-right president Jair Bolsonaro. They describe this insurrection as a form of connective action: a framework that has largely been applied to pro-social actions like Occupy or the Indignados, but can also be used to analyse anti-democratic actions.

It’s unreasonably early in Philadelphia, and we’re at the start of the AoIR 2023 conference proper. I’m in a panel on extremism, and we start with Shawn Walker, Michael Someone, and Ben Gansky, whose focus is on the 6 January 2021 insurrection in the United States.

It’s that time of the year, and I’m in Philadelphia for the 2023 conference of the Association of Internet Researchers (continuing my 21-year streak of attending AoIR), which starts in earnest with the keynote by Aymar Jèan ‘AJ’ Escoffery. His focus is on reparative media, and he begins by noting that it feels like our collective harms are intensifying. This is exacerbated to some extent by corporate media, who often distribute the equivalent of fast, globally consumable food rather than slow and locally relevant content. This perpetuates injustices which require a particular approach to repair, including grassroots (re)distribution.

Power in the media and cultural industries is located in their cultural distribution systems (from development through production, distribution, and exhibition, to audiences, and thence repeating the cycle. This is true for all major platforms, including for example Netflix and other streaming services, which are often integrated with the major production studios to create a Hollywood-style streaming studio system (if not yet as well established).

The creators involved in these processes usually have no right of ownership over their creations; this is especially problematic for women and minority groups, and does not tend to produce diverse content. Minorities also remain underrepresented at the executive producer level. This also produces various other harms to them, for instance at personal, physical, and psychological levels; it also results in reductive storytelling that privileges a handful of major and often simplistic narratives.